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20 x Silver hollow out hair cuff

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17.5*10*2.5 cm

Note:

As different computers display colors differently, the color of the actual item may vary slightly from the above images. 

Please allow 1-3 CM differs due to manual measurement. 

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Nafaboig 200PCS Beads for Hair Braids, Hair Jewelry for Women Br

PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 11,772 bands & artists, 66,839 albums (LP, CD and DVD), 1,846,363 ratings and reviews from 65,700 members who also participate in our active forum. You can also read the new visitors guide (forum page).

Latest Progressive Rock Music Reviews


Last 50 reviews
Studio Album, 2021
3.87 | 25 ratings

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Meat Mallett
A Formal Horse Heavy Prog

Review by tempest_77

The one thing I will say about "Meat Mallet" is that it is at the very least more interesting than a lot of the progressive music happening right now. A Formal Horse has an intuition for heaviness, a sense of humor, and at times, a fairly avant-garde approach. That being said, much of this album is just grungy psych rock with complicated guitar rhythms; there's a lot of stuff on here that really isn't very inspired. By about halfway through the album, it mostly all sounds the same. Especially with the more relaxed, clean guitar-driven passages, it feels like the band doesn't have very many tricks up their sleeves. That being said, I do quite enjoy the subdued, acoustic-driven nature of "Let It Run", which is probably the band's most successful attempt at a more relaxed song. Additionally, most of the heavier passages really are fairly excellent; notable tracks on this front include "This One's Just a Warning", "Someone's After My Malted Milk", "Heavy Hit", and "Mr C's Two Thousand and Threes".

Perhaps the weakest aspect of the album is the lyrical content; a lot of the lyrics aren't very interesting, and many sound either like disjointed artsy phrases, or phrases that the band feels sound edgier than they really are (e.g. "This One's Just a Warning" or "You've Got a Billion and I've Got a Half"). They aren't terrible lines, and can certainly carry weight in the right context, but the band repeats them far too many times to be effective. "Space8" is probably the most lyrically egregious song on the album with its anti-social media angle. Unlike Love Over Fear by Pendragon or Virtual Human by Orion 2.0, I do think that the band is going for a more valid criticism of the internet age and social media (i.e. the negative influence social media can have on people's self-image and its addictive nature), but unfortunately it ends up sounding like just another generic and uninspired anti-internet anthem. Also, I'm not sure if I'm missing something, but I cannot for the life of me figure out why the lyrics continue to reference Asia? There are at least 6 songs on the album that mention Tokyo or Japan or Asia or Hong Kong, which feels like a lot for a band from Southampton. To be fair, this is less of a criticism and more of a confusion on my part.

Despite dragging for most of the album, "Meat Mallet" makes up some ground at the end with the excellent closing three tracks "Let It Run", "Mr C's Two Thousand and Threes", and "Turkeys 2000s", which really function all as one continuous piece of music. As I mentioned earlier, "Let It Run" is easily the most effective mellow track on the album; the acoustic part is very engaging, and it flows wonderfully into the crushingly heavy "Mr C's Two Thousand and Threes", which is probably my favorite track on the album. "Turkeys 2000s" comes directly out of this, and while the lyrics are rather odd, the instrumental has some great technicality and heaviness, and it serves very well as a closing track.

All in all, this album is alright, and while it's not an excellent album all the way through, there are certainly some excellent moments. The middle of it had me wanting to bring it down further, but the excellent ending holds it solidly at a 3/5.

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Studio Album, 2020
3.94 | 80 ratings

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Andiamo in Giro di Notte e ci Consumiamo nel Fuoco
Homunculus Res Canterbury Scene

Review by DangHeck

If you need any evidence that the Canterbury Scene is alive and well, of all places, you can look here, in a newer, still-active Italian Prog band. Amazing. The quirk is here, mostly from the sort of carefree vocals (at least to me, an ignorant English speaker). The skill is very much present, and present in everyone here. From the keyboards to the guitar, from the drums to the (thankfully featured) horn section. Compositionally very tasty as well, with fast and slow sections, and fun verses and well-performed solos. A must-hear for fans of the Canterbury Sound.

There's a more modern approach to things, which is very refreshing. Bright and clear classic-sounding instrumentation, too. This approach reminds me most immediately of BEARDFISH. Most tracks are light and upbeat, yet skillfully presented. And being inspired by the Canterbury Scene, everything is so well balanced, each part distinguishable immediately. Another phenomenal current Prog band that comes to mind (see also my note below for "Tetraktys") is ONCE AND FUTURE BAND. [Please, nobody tell my buddies who introduced them to me how "low" their ratings are.]

The surprise banjo on "Buco nero" is so nice! Very unexpected. The featured banjo performer is also responsible for some guitars, double bass and vibraphone, all on this same track! Amazing.

Other sort of surprises to me include "Supermercato", which sounds like if Caravan had even more of a Pop Rock slant. The static vocal melodies even remind me of something that we might expect from Richard SINCLAIR early on in his career. In the least, a fun track. It's been a while for me, but couldn't the end of this track be a sort of callback to GRYPHON? Sort of Canterbury-meets-Ren'-Prog? On "La spia", the backend picks up with a very... unexpected Island(?!) vibe? It sounds pretty good. Just surprising. In other news, "In girum" is... just kinda weird lol. Pretty good though, I guess haha. Not a bad song on here. The middle of the album is a bit weak compared to the top and bottom.

And speaking of the bottom, things swing back into form, I think, on "La Luccicanza" to start the end to the album. Great melody and chord changes. Really, very nice. Again, classic Canterbury! And a weird, reharmonized homage to "Hey Jude"?! I'll take it! "Tetraktys" continues this positive swing back to "great" with what feels like EGG. I love me my Dave STEWART, so I'm all for it.

Personal Standout Tracks: T1, T3, T9

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Studio Album, 2021
4.71 | 32 ratings

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Shamblemaths 2
Shamblemaths Eclectic Prog

Review by Argentinfonico

Wow, this surprised me out of the blue! What a great album!

I didn't know this band. Just stumbled across it out of the blue here in PA, and seeing this album with such a high rating, I was compelled to listen to it immediately. Of course, now I understand the rating! Norway is becoming one of my favourite musical countries. It is very probably in the top 10 if we talk about symphonic music.

This album has such a clean, natural, great sound and is so well produced that it's really a serious contender for album of the year. I, as far as my humble knowledge goes, put it in my contenders for album of the century so far.

These musicians have done a perfect and memorable job, and I'm pretty sure many of them are fans of Anglagard and early King Crimson (especially the Islands-Larks' Tongues In Aspic stage)!

In all seriousness, this is a work that definitely needs to be talked about. If you're reading this, you're already obliged to listen to it. Well, it's a joke, but you'd really be doing yourself a favour.

The first bite of the album "Maneskygge" provides a simple but forceful flute that maintains its impact on two or three specific tones. Thus it functions as a subtle and quiet entrance. Well, this quietness stops right at the beginning of the second song. Due to the ambience of the first song, which seems to be the noise of a van engine, one could imagine that the peace would crumble in a matter of seconds. But all for the best!

"Knucklecog" is the first masterpiece of the album. It reminds me so much of "Larks' Tongues In Aspic (Part I)" that it makes my skin crawl. I've always thought that metal-style electric guitar plucks combined with wind instruments like saxophone or bassoon engender too much prog sound! The lyrics are too subjective and at the same time interesting. It could be a sort of "Welcome To The Machine" but with more focus on the human body and its myriad of details and characteristics. The instrumentation is absolutely brilliant and neat. Here they have already entered an intellectual and complicated terrain, but what awaits us next is even more complex.

Just when it seems that the album will not go up a level and all the music will be as spectacular as the second song, "D.S.C.H. (Op. 110 String Quartet No. 8 in C Minor, Movements 1-2)" comes along and elevates everything even more! It just all happens here. One of my principles as a human being is "If you can't describe something in words, you don't know it yet". Well, some segments of this song have left me speechless and happy because while I was listening to this song I was thinking that I'm only on my first listen, and I can still enjoy and squeeze this album a lot more. The vocal work is chilling and magnificent. For fans of 50% prog/50% classical music, this song will be a colossal pleasure.

"Lat Kvar Jordisk Skapning Teia" is the longest song on the album at 18 minutes. It consists of 9 parts and treads in all the spaces you can imagine, from risky instrumental chaos to a piano that peacefully accompanies a 6 year old singing. I would go so far as to say that this song cannot be pigeonholed into a genre. Another one would have to be invented! Everything is still fantastic here, the album doesn't let up at any point. The passages and small transitions are very neat and careful, so that one is not bored but in constant amazement. If I had to choose the best song on the album, it would be a very difficult decision but I think I would go with this delicate and superlative suite, and I would argue that it is the most dangerous and experimental song on the album, and the transitions from one sub-genre to another are so neat and methodical that they become imperceptible. The adjective "pragmatic" defines the procedure of this song better than any other word.

"Been And Gone" begins to close the album. Its brevity makes it work as an interlude of drama and fear, with a double bass that seems to be pacing and raw horn arrangements.

At the end of it all is "This River", or rather, the perfect closer. It's probably one of the best album closers I've ever heard. And by this, I mean that, within the hundreds of albums I've listened to, I'd place it roughly in a top 7. Let me be complimentary: Here everything is planned flawlessly, with the saxophone as pure as ever and percussion that provides just the right amount of tension (it could very well be the song that represents Gustavo Fring!). The sounds of water have never been so well implemented in a full-length song. Marianne Lonstad's voice is worthy of being an emblematic progressive rock voice. Her work on this album is totally flawless. To be clear, I would compare her voice to divinity itself. The song (and the album) closes with only the sound of a river.

I feel that the meaning of the album is very deep and it's going to take me a while longer to understand it in its entirety (or almost), and that motivates me to listen to it several more times. I hope it will become one of my favourite albums. It's one of the most intelligent and best planned albums I've ever listened to, and from now on it's on my list of essential recommendations.

Long live this masterpiece!

Fun fact: this album was released on the same day as Dream Theater's "A View From The Top Of The World" and Premiata Forneria Marconi's "I Dreamed Of Electric Sheep".

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Studio Album, 1972
3.93 | 547 ratings

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Waka / Jawaka
Frank Zappa RIO/Avant-Prog

Review by Uruk_hai

Review #146

ZAPPA got jazzed!

Frank ZAPPA had already been flirting with Jazz in earlier records (especially "Hot rats") but the two larger songs on "Waka/Jawaka" ("Big Swifty" and "Waka/Jawaka") were the evidence that he could swim in the musical ocean of Jazz with no problem.

"Big Swifty" is an excellent 17-minute total free-jazz instrumental piece, the session musicians that played with Frank on this record (ZAPPA still didn't have an official band and this was the first album with Ian UNDERWOOD since 1968) were extremely talented and highly educated in jazz, so this piece could compete with some works by Herbie HANCOCK without a problem. "Waka/Jawaka" is more oriented to classical music than to jazz, but still the musicians managed to do their best performances and the song is like a classical music/jazz hybrid. The two songs in the middle ("Your mouth" and "It just might be a one-shot deal") are honestly poor and work only as filler songs, the album would have been even better without them.

This is a very good record by ZAPPA, the following record would consolidate this new era of ZAPPA as one of the greatest in his career, but this album planted the seeds from where that tree would have grown.

SONG RATING: Big Swifty, 5 Your mouth, 4 It just might be a one-shot deal, 3 Waka/Jawaka, 5

AVERAGE: 4.25

PERCENTAGE: 85

ALBUM RATING: 4 stars

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DT Luminessence Fresh Linen Votive Candles, 4-ct. Packs Studio Album, 1975
4.10 | 427 ratings

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Bundles
The Soft Machine Canterbury Scene

Review by Dapper~Blueberries

Seven whole albums. Soft Machine really has done it all. With the psychedelic jazz of their debut and Volume 2, to their Canterbury mix of Fusion and experimental jazz with Third and Fourth, and their experimental masterpieces of 5 and Six. However in some cases they sort of fell off in some albums. Seven especially, with it's more lack luster performances on it's songs. That album sorta made me have second thoughts on the band as a whole. Did they fell off? Did they become a bad Prog band? However all and I mean ALL of these thoughts were immediately swept away after hearing this, absolute masterpiece. A new start for the band, and a damn good one at that. Their album Bundles.

The album's first song, or songs, are Hazard Profile Parts 1 - 5. This 17 minute suite is such a good way too start a Soft Machine record. Each part is a gold mine to get through with the most favored one being Part 1. This 9 minute groovy and jazzy song with some amazing guitar work and drumming leaves no other impression than awe inspiring. It is such an incredibly iconic song in the band's discography for a reason. The next part is a sweet and beautiful piano song. It is a sweet little tune that perfectly calms the mood and head after such an amazing song that Part 1 was. Part 3 is a pretty short track. Despite this, it has some great electric guitar playing, plus a pretty cool keyboard on top of it. This leads to Part 4, a surprisingly even shorter track, however packed into this small brick of a song is even more great guitar playing, drumming, and some great bass playing. After all of that, Part 5 leads in and we got some amazing tunes here. Some of the best horn work I have heard on a Soft Machine song. It's wild, it goes everywhere and enhances the already amazing bass and drums. I am surprised Part 5 isn't as beloved as Part 1, personally I think both are excellent songs from the album and are staples of the Soft Machine sound. Anyways, this suite is amazing, but I wish it was even longer.

Now we go into the next songs on the album. Gone Sailing is a little track played on a neat acoustic. It sounds like that Yes song I forgot about a little bit. I like it. Now we have the title track, Bundles. It is a pretty wild song. It is pretty groovy and the guitar work is still as good as ever. The next song is Land of the Bag Shark. This song is absolutely epic with that pretty hard drumming and keys that make the song feel so, so tubular. After that we got The Man Who Waved At Trains, this is a pretty cool track. It has some good bass and key playing despite the short time the song takes. After that's done we got Peff. This song is pretty fast, and it's pretty wild. It feels like a jazzy sprint to some unknown destination. Very nice. Now fair warning the next song is pretty weird, it's Four Gongs Two Drums. If you like percussionism than you'll enjoy this song, but if you don't really care than you may not like this song at all. Despite this, it's pretty cool. The gongs are super loud and the drums feel tribal like. But now we reached the culmination point, with The Floating World. This track is pretty lo fi in a way with some nice keyboarding and some interesting woodblock percussion, and some very beautiful woodwinds. This feels like the perfect ending for this perfect album, it's calming, it's relaxing, and it's a good end point for this record.

So if it isn't obvious, this album is amazing too me. It does everything right in a Soft Machine record and it makes these sounds that were established before even better. The only critic I have is that I wish it was longer, so I can love it even more.

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Studio Album, 1970
3.41 | 367 ratings

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Chunga's Revenge
Frank Zappa RIO/Avant-Prog

Review by Uruk_hai

Review #145

This was the first Frank ZAPPA album featuring the ex-TURTLES members' Mark VOLMAN and Howard KAYLAN (aka FLO & EDDIE) who would keep playing with ZAPPA (and THE MOTHERS) in a couple of following albums; Ian UNDERWOOD still was the regular member that kept playing in both ZAPPA and MOTHERS albums while the rest of the musicians were rotative, ZAPPA hadn't achieved a solid line-up yet (George DUKE and Aynsley DUNBAR were the following musicians to become permanent).

"Transylvania Boogie" is a very cool instrumental piece with a very catchy guitar riff, "Road ladies" is a very sensual blues-rock; "Twenty small cigars" is a jazzy tune in the same mood of the "Hot rats" catalog and "The Nancy & Mary Music" is a live improvisation that includes an excellent organ solo by George DUKE. "Tell me you love me" is the most recognizable track on the record and became a favorite in the early seventies live performances of the ZAPPA band. "Would you go all the way?" brings back the ZAPPA interest in 50's boogie music but also features excellent wind instruments arrangements.

"Chunga's revenge" is an instrumental piece that includes Ian UNDERWOOD's electric sax and his wah-wah pedal that if you don't pay enough attention you could think is actually an electric guitar. "The clap" is a very short but interesting percussion section and the next song is "Rudy wants to buy yez a drink" which is a very joyful piece with excellent wind instruments in the background and reminds a lot of the first albums of ZAPPA & THE MOTHERS. The closing track of the album is "Sharleena", which sounds almost like a slow funk song.

This is definitely one of the most eclectic and varied albums by Frank ZAPPA.

SONG RATING: Transylvania boogie, 4 Road ladies, 5 Twenty small cigars, 4 The Nancy & Mary music, 5 Tell me you love me, 4 Would you go all the way? 3 Chunga's revenge, 5 The clap, 3 Rudy wants to buy yez a drink, 4 Sharleena, 4

AVERAGE: 4.1

PERCENTAGE: 82

ALBUM RATING: 4 stars

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Studio Album, 2021
4.00 | 1 ratings

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In Humanity
Anyone Heavy Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

— First review of this album —
ANYONE is the brainchild of multi-talented US artist Riz Story basically. He already has formed this music project way back in the last century, while starting with a more heavy alternative, grunge and metal music mix. The previous 2020 album 'On The Ending Earth ...' though has been the initial point for a major shift towards progressive rock, including reminiscences of Rush, Tool, Led Zeppelin, to name a few. And now, concerning the overall flow, the compositional aspect, this album production comes matured again. Hence, for some reason, one can consider it his masterpiece. So far of course, only he himself bears the clues what will follow. I am definitely delighted with the revealed inspiration and especially the technical finesse. Yep, challenging arrangements and such a tricky execution during the course of round about 100 minutes, accompanied by a crystal clear sound.

This nearly has no equal currently. I only could name a very few artists respectively bands which are sounding somewhat similar, let's say Coevality or Ontologics. At first glance let's consider that there is a Sci-Fi concept behind this, dealing with the dystopian vision '... when mankind has made the earth uninhabitable and venture into the cosmos to find a planet that is even more beautiful than earth, which they immediately begin to destroy ...' Holy [&*!#]! But quite a possible view. Music-wise there's a strong powerful heavy rock expression to note. Where the guitars are dominant, both electric and acoustic, compared to piano, synths, and electronics. Concerning the sound mix the vocals are rather prominent. This applies to the drums in the same way. But as often nowadays it's nearly impossible to say if they were acoustically or electronically generated. I tend to the latter.

Man! Occasionally I had problems to cope this in its entirety, which is running over such a long course. Thus for a certain time I would not have complained if the album was presented in a bit more compressed format. You know, less is more in some cases. But this has vanished in the meanwhile, I learned to reserve enough space instead for this incredible production. Lively drums are opening The Disappearing Everything, some well-appointed piano keystrokes, psychedelic soarings as well as agressive metal affin guitar riffs, the complex flow, I really adore this. Don't Swallow Tomorrow bears a little Black Sabbath feel. Misanthropist is the sole track with external support, speaking of Jon Davison who contributes the vocals. I'm very impressed, it's an overwhelming experience, very ambitious. Happy listening. 4.5 stars on the PA scale.

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Studio Album, 2004
4.20 | 1209 ratings

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The Human Equation
Ayreon Progressive Metal

Review by VianaProghead
Prog Reviewer

Review N� 483

"The Human Equation" is the sixth studio album of Ayreon, the musical project by Dutch songwriter, producer, singer and multi-instrumentalist Arjen Anthony Lucassen and it was released in 2004. As happened with all Ayreon's albums, this is a conceptual album with each character being portrayed by one singer. However and unlike the previous albums, "The Human Equation" isn't a sci-fi story but it takes place almost entirely in the mind of a character called "Me".

"The Human Equation", is together with "Into The Electric Castle", the only Ayreon's album in which Lucassen didn't write all the lyrics. Devin Townsend wrote all the lyrics of his character "Rage", while Heather Findlay of Mostly Autumn and Devon Graves of Deadsoul Tribe also wrote some of the lyrics of their characters, which are "Love" and "Agony".

The concept is about a man who had a car accident. He crashed into a tree. It was broad daylight with no other car in sight. The road was empty. This man slips into a coma after his accident. The story is set in two different locations. One is at the hospital where his best friend and his wife are sitting next to his bed. The doctors are wondering why he doesn't wake up. Why he is still in coma, because physically he should be okay. The other location is inside the man's head. The man has discovered some strange realm within his head, where he's being confronted by his personal emotions. These emotions are being portrayed by the singers. So, there's "Fear", "Pride", "Love", "Rage", "Passion", "Reason" and "Agony". There's also the character of the man, "Me", his wife, his best friend and there's his father too.

The line up is divided into vocalists and instrumentalists. Vocalists are: James LaBrie as "Me", Mikael Akerfeldt as "Fear", Eric Clayton as "Reason" Heather Findlay as "Love", Irene Jansen as "Passion", Magnus Ekwall as "Pride", Devon Graves as "Agony", Marcela Bovio as "Wife", Mike Baker as "Father", Arjen Lucassen as "Best Friend", Davin Townsend as "Rage" and Peter Daltrey as "Forever". Instrumentalists are: Arjen Lucassen (electric and acoustic guitars, bass guitars, mandolin, lap steel guitar, keyboards, synthesizers and Hammond organ), Joost van den Broek (synthesizers and spinet), Martin Orford (synthesizer), Ken Hensley (Hammond organ), Oliver Wakeman (synthesizer), Ed Warby (drums and percussion), Marieke van den Broek (cellos), John McManus (flute and whistle) Jeroen Goossens (flute, alto flute, bass flute, panpipes, descant and treble recorder, didgeridoo and bassoon) and Robert Baba (violins).

Musically, this new Ayreon's album is in the vein of the music of Lucassen, a lot of beautiful melodies, sometimes sad, sometimes happy, but always well written. It's versatile as any Ayreon's album has been, and in this case is even more. For the ones who know Lucassen's music there is again a lot of keyboards, flute, violins etc., and it sound is again very atmospheric, very progressive and also very heavy in some parts, in its style. But, the great stuff that shows that Arjen is certainly one of the best musical compositors on Earth is this easiness that the master has to write his music for us, for him, but also for his guest musicians. Personally, I think it's very hard for me to find any musician who can do that like him. All songs are killers, the stories are superb, so are the lyrics, and the singers line up can't be better, really.

The choice of singers for the parts has been very thorough. After listening to the album many times it's hard to imagine other singers in these roles. LaBrie manages to carry a lot of feelings suitable to the moments. Akerfeldt singing more than grunting is simply amazing. Heather and Marcela with their sweet and emotional voices are lovely. Irene with her powerful voice is incredible. Townsend gets really raging in his own manner. Graves delivers a versatile performance.

But, not only the singers and the story make this album so good. The music and the musicians are both of the first class. The album blends elements from classic, folk, electronic, rock and psychedelic to hard rock, prog and metal at its best. There are violins, cellos, flutes and pipes, there are amazing keyboard solos by some amazing keyboardists, there are guitars by Arjen in his distinctive style and there are drums by Warby. You can't help notice Ed's fine performance.

Conclusion: As is usual on any Ayreon's album, there's a great collection of artists, musicians and singers. It's a real pleasure to see so many great artists on a single album. And as usual, we are in presence of another conceptual album. But, there's a small surprise here that firmly ties this album to all other Ayreon's albums. No sci-fi story here, which is a real surprise for the fans, I guess. But, this is one of the best, if not the best story written by him. So, what more can I say about this wonderful album? Undoubtedly, this is the best work, so far, of this great Dutch artist. He knows perfectly well how to involve so many people without losing his musical identity. This is a perfect mix, full of quality, with a lot of musical styles, new and incredible voices, amazing collaborations and mainly with great music. Again, Mr. Lucassen does that and was able to create amazing music on a wonderful album. It deserves again the maximum rating from me. Definitely, when in the future we look for Rock Operas, we can't forget the name of Arjen Anthony Lucassen.

Prog is my Ferrari. Jem Godfrey (Frost*)

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Studio Album, 2020
4.70 | 7 ratings

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Omicron
Breidablik Progressive Electronic

Review by prog_traveller!!

I became aware of Morten Birkeland Nielsen alias Breidablik while leafing through the booklet of the self-titled double album by Jordsj�. There a tape cassette released in 2016 called "Songs from the Northern Wasteland" is mentioned, which Jordsj� shared with Breidablik and represents the recording debut of both projects.

The Norwegian takes it easy again and this time relies on the sensitive help of Jordsj� and ex-Tusm�rke jack-of-all- trades H�kon Oftung, who enriches the synthetic sounds around guitar and flute-unobtrusively and tastefully.

So now the two of them are working together again and are offering the two-part song 'Omicron', which has a playing time of around 43 minutes, i.e. more than 20 minutes per album page. The instrumental album is not a pure electronic album, but rather a kind of Jordsj� meets Breidablik ... it is true in the truest sense of the word.

The Norwegian musician remains true to his style on Omicron, clearly influenced by the electronic music of the Berlin School, but also by early productions of herbaceous electronic musicians, although he still adds a character of his own to the music. Especially the use of guitar and flute, such as the acoustic guitar intro and outro of Part I, give the music a certain Scandinavian touch. There is mainly classic electronics for the ears, but they definitely have their own impressionistic-Scandinavian character. That is to say, when listening, one thinks more of foggy winter landscapes than of space, whereby, of course, all sorts of cosmic beeps, hisses and waves can be made out. We have majestic Mellotron choirs, pulsating sequences - everything the electronics lover's heart desires. When the sequences get a little quicker and H�kon Oftung picks up the strings of the electric guitar, it gets discreetly rocking. After a good 16 minutes in "Omicron pt. I", the programmed drums can be heard for the first and only time for a few minutes, they provide additional variety and dynamism.

There is also a CD version that contains two newly mixed pieces from the 2017 album "Penumbra", namely the two- part title song, which then offers an additional half hour of the finest Bergen school electronic music. The two parts of "Penumbra" offer something comparable, but are a bit more retro-oriented. Mellotron-like and classic synthesizer sounds provide in places quite clear reminiscences of Tangerine Dream or Klaus Schulze. Everything is very well done and does not need to hide from the classic productions of the role models. Sections with more free-format sound painting, gloomy ambient thrusts or sacred organ interludes also create their own character.

"Omicron" offers wonderful retro electronics with a very special Scandinavian atmosphere, fantastic!

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Singles/EPs/Fan Club/Promo, 1969
4.00 | 1 ratings

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Suzanne / There Was a Man
Pearls Before Swine Prog Folk

Review by Matti
Prog Reviewer

— First review of this album —
Hey, I just found an interesting band I'm willing to know deeper, thanks to a Facebook friend who mentioned them. PEARLS BEFORE SWINE were an American folk rock band active in the late 60's and early 70's, led by singer-songwriter Tom Rapp whose solo albums are also catalogued here under his band. It's the second album Balaklava (1968) that most listeners consider their best one. This single has two songs from it.

'Suzanne', the extremely well known Leonard Cohen song, was first recorded by Judy Collins, understandably best remembered as Cohen's own version from 1967, and covered by hundreds of artists all around the world ever since. This serene version is among the early ones and totally new to me. Not very far in spirit to Cohen's own interpretation, I believe this is easy to like by any friend of Cohen's music. Tom Rapp's voice is pleasant and emotionally deep without being too expressive. The arrangement is elegant and nuanced. I can't name with certainty all the instruments used on this particular song, but the English horn of the guest musician Joe Farrell fits in very beautifully.

'There Was a Man' is a calm, acoustic guitar centred song actually pretty much in the Leonard Cohen vein. Story telling by singing is essential on it, but also musically it's pleasant if you like this kind of folk music. Four solid stars within the genre, not much of prog or psych flavours to be heard though.

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